Isserley - S A D P O S T I N G 悲しい転記
Witch House, Dubstep Australia's premiere sad girl Isserley is back again with a brand new album titled S A D P O S T I N G 悲しい転記. Though Isserley's off brand humor combined with gritty, visual aesthetics that would not be out of place in a found footage horror film might seem a bit odd, her downtempo bass rhythms inspired by industrial, trap, and witch house is not a medium deserving rude remarks.

Roxxi Wallace, the solo producer behind the project, has been perfecting her unique sound since her breakout into the scene with her old, abandoned project Girlflesh. She made Isserley and unleashed her debut under the moniker in 2015 with Messes. I was equally impressed with the album upon its released, stating that there is,  "...love in her music for horror soundtracks and a hint of cynicism." There is a cute, dark approach to Wallace's music as songs such as 'Princess Parts', 'Good Girl' and 'Aliens Don't Eat Chocolate Cake' may reveal. However, each one of these songs is more or less a revelation and a way to deal with emotional struggle. Do not be fooled by first looks - there is more to Isserley than meets the eye. 

The first two tracks on the album that really caught my attention were '$ad Girl$' and 'Privilege'. The deep bass mechanics were catchy as Hell, but it was the fade-in/fade-out sound that really kept me on my toes. The aforementioned '$ad Girl$' and 'Sadness' both also had a very slight pop sensibility to them, making a slightly more upbeat track. 

There are a couple of collaborations on the album from visual artist Nawadar and South Australian Rapper Atkin$. As you might be able to tell by this website, hip-hop and rap are not my go-to genres by any means necessary. That being said, both Nawadar and Atkin$ vocals sounded right in place on both the songs. Never over powering the beats within 'I Know Where You Live' and 'APPS', Nawadar's biting sass comes out in full as does Atkin$' whispering delivery. 

The thirteen track album seems to have an almost even split as well. Right after 'APPS' ends, I entered an ambient and noise influenced track with 'Garrotte'. If the first half of the album was the stark laughter to a horrid situation, the second half represents the smiles turned to frowns. 'Princess Parts' furthers the divide as noise filtered through the song and Wallace's voice came over it. Like a nightmarish lullaby, this is not something I would want to hear in the middle of the night. 

'DoxXx', 'Good Girl', and 'Aliens Don't Eat Chocolate Cake' provide minimal beats sounding like a stripped down version of earlier songs on the album. The last track on the album 'Death Is My Gift' lends itself to noise and sounds often associated with death industrial - swooping noisy synths, underlying lo-fi lines, and another dose of lullaby like singing from Wallace. 

S A D P O S T I N G 悲しい転記 is pretty much the best I have seen from Wallace thus far - the production is fantastic, the songs still manage to keep her humor in line with more serious elements, and the visual aesthetic this time around beats out any previous efforts she has made. Some seriously addicting songs are found within ranging from industrial flavored layers, hip-hop oriented kicks, and straight down to pure noise with horrific intentions. Take a listen to this album - it's available under the name your price model on Bandcamp so don't be cheap. 

4
Brutal Resonance

Isserley - S A D P O S T I N G 悲しい転記

8.0
"Great"
Released off label 2017
Australia's premiere sad girl Isserley is back again with a brand new album titled S A D P O S T I N G 悲しい転記. Though Isserley's off brand humor combined with gritty, visual aesthetics that would not be out of place in a found footage horror film might seem a bit odd, her downtempo bass rhythms inspired by industrial, trap, and witch house is not a medium deserving rude remarks.

Roxxi Wallace, the solo producer behind the project, has been perfecting her unique sound since her breakout into the scene with her old, abandoned project Girlflesh. She made Isserley and unleashed her debut under the moniker in 2015 with Messes. I was equally impressed with the album upon its released, stating that there is,  "...love in her music for horror soundtracks and a hint of cynicism." There is a cute, dark approach to Wallace's music as songs such as 'Princess Parts', 'Good Girl' and 'Aliens Don't Eat Chocolate Cake' may reveal. However, each one of these songs is more or less a revelation and a way to deal with emotional struggle. Do not be fooled by first looks - there is more to Isserley than meets the eye. 

The first two tracks on the album that really caught my attention were '$ad Girl$' and 'Privilege'. The deep bass mechanics were catchy as Hell, but it was the fade-in/fade-out sound that really kept me on my toes. The aforementioned '$ad Girl$' and 'Sadness' both also had a very slight pop sensibility to them, making a slightly more upbeat track. 

There are a couple of collaborations on the album from visual artist Nawadar and South Australian Rapper Atkin$. As you might be able to tell by this website, hip-hop and rap are not my go-to genres by any means necessary. That being said, both Nawadar and Atkin$ vocals sounded right in place on both the songs. Never over powering the beats within 'I Know Where You Live' and 'APPS', Nawadar's biting sass comes out in full as does Atkin$' whispering delivery. 

The thirteen track album seems to have an almost even split as well. Right after 'APPS' ends, I entered an ambient and noise influenced track with 'Garrotte'. If the first half of the album was the stark laughter to a horrid situation, the second half represents the smiles turned to frowns. 'Princess Parts' furthers the divide as noise filtered through the song and Wallace's voice came over it. Like a nightmarish lullaby, this is not something I would want to hear in the middle of the night. 

'DoxXx', 'Good Girl', and 'Aliens Don't Eat Chocolate Cake' provide minimal beats sounding like a stripped down version of earlier songs on the album. The last track on the album 'Death Is My Gift' lends itself to noise and sounds often associated with death industrial - swooping noisy synths, underlying lo-fi lines, and another dose of lullaby like singing from Wallace. 

S A D P O S T I N G 悲しい転記 is pretty much the best I have seen from Wallace thus far - the production is fantastic, the songs still manage to keep her humor in line with more serious elements, and the visual aesthetic this time around beats out any previous efforts she has made. Some seriously addicting songs are found within ranging from industrial flavored layers, hip-hop oriented kicks, and straight down to pure noise with horrific intentions. Take a listen to this album - it's available under the name your price model on Bandcamp so don't be cheap. 

Nov 06 2017

Off label

Official relesae released by the artist themselves without the backing of a label.

Steven Gullotta

info@brutalresonance.com
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.

Share this review

Facebook
Twitter
Google+
1
Shares

Buy this release

Bandcamp

Related articles

Isserley - 'Messes'

Review, Dec 08 2016

Isserley

Interview, Nov 07 2017

Monolog - 'Merge'

Review, May 01 2015

SeamlessR

Interview, Apr 02 2015

Luna 13

Interview, Nov 30 2014

Shortly about us

Started in spring 2009, Brutal Resonance quickly grew from a Swedish based netzine into an established International zine of the highest standard.

We cover genres like Synthpop, EBM, Industrial, Dark Ambient, Neofolk, Darkwave, Noise and all their sub- and similar genres.

© Brutal Resonance 2009-2016
Designed by and developed by Head of Mímir 2016